"The Church takes itself much too seriously. It has to learn to laugh at itself sometimes. I think if Jesus were here today, he would be moving and acting like this." With these words, Stephan Nathan, the vibrant young star of Godspell, sets the tone of this creative interpretation of St. Matthew's Gospel.
The play itself opens with a stylized presentation of the "Tower of Babble," with each of the cast members portraying a major voice form the history of philosophy in a deliberately ponderous and serious Prologue. The heaviness of the introductory moments quickly dissolves into kaleidoscopes of color, song and movement, as the enthusiastic young players spill onto the stage, costumed like so many Raggedy-Ann clowns. For the next hour, the cast portrays Jesus and his closest followers, treating their audience to a high-velocity assortment of parodies, sight-gags, music hall routines, charades, visual puns and pantomimes. All these techniques are marshaled around a series of key parables and incidents in the Synoptic Gospels, and are geared to a light-hearted, fresh retelling of the familiar scriptural passages. Papier-mache flowers appear magically during a discourse on the lilies of the field, stage money rains down as the prodigal son in reprimanded, and party favors explode at the most unlikely moments. The first act culminates in an invitation to share wine and conversation with the cast in a convivial atmosphere.
Act II gradually shifts the mood from light to serious as the focus changes to the Passion narrative. The events of the last days of Jesus' life are presented with great simplicity and restraint. The Last Supper and farewell to the disciples are rendered poignant by the absence of the previous elaborate staging, a mood reflected in the utter silence of the audience. This tension is sustained through the crucifixion and death, and is only released at the final moment when the disciples carry the master away singing "Long Live God" and "Prepare Ye the Way of the Lord."
The play is possessed of an extraordinary musical score, ranging across the entire register of human emotions and embodying an astonishing variety of styles. Thus Act II can open with "Turn Back, O Man," a number reminiscent of the cheerful lustiness of Mae West, move to a scathing denunciation of the Scribes and Pharisees in "Alas for You," only to mellow into the gentle ballad "By My Side." The same Jesus can draw a laugh with his soft shoe rendition of "All for the Best" and evoke sorrow with his final halting words from the cross.
Several questions put to John-Michael Tebelak permit Godspell's talented young author to explain some of the ideas that went into its conception and handling. For example:
Why was Godspell written? "I had been working on my master's thesis for Carnegie Tech's School of Drama but put it aside," recalls Tebelak. "Then I went to the Easter Vigil service at the Anglican Cathedral in Pittsburgh. It was snowing, and I was aware of the proper setting for a religious experience. But the people in the church seemed bored, and the clergymen seemed to be hurrying to get it over with. I left with the feeling that, rather than rolling the rock away from the Tomb, they were piling more on. I went home, took out my manuscript, and worked it to completion in a non-stop frenzy."
The material is presented in anything but conventional way, isn't it? "Yes," continued Mr. Tebelak, "but that is just the point. The Church has become so dour and pessimistic; it has to reclaim its joy and hope. I see Godspell as a celebration of life. In its earlier version at Cafe La Mama, I had called the intermission the 'party between the acts,' but reverted to the more conventional term 'intermission' when we moved to the Cherry Lane Theater."
Was there some special reason for choosing the title Godspell? "the word godspell is the Old English for gospel and is reminiscent of the medieval morality plays." Peggy Gordon, an appealing combination of charm and probing intellect, who has been with the cast since it gathered in New York, adds: "John-Michael called me up and said that he wanted me to do a part in a play he had written which was intended to 'weave God's spell over the audience.' The idea appealed to my imagination and I readily agreed."
Although you anchor the play in St. Matthew's gospel, there seems to be some borrowing from Luke and John. Is there any reason for this? "I chose the parables very carefully. The Prodigal Son, for instance, is extremely important to young people today because it deals with the problem of the generation gap. The Woman Taken in Adultery, form St. John, stresses compassion and understanding."
Do you consider your play a part of the current Jesus movement? "Not really. Godspell's arrival at this particular time enables it to capitalize on the trend toward Jesus awareness, but neither the cast nor myself could be styled Jesus freaks nor would we wish to be."
There can be little doubt that American youth have developed a certain interest in rediscovering Jesus Christ. The present popularity of Superstar in spite of mixed reviews bears testimony to that interest. But an important question remains to be asked. What type of Jesus is the under-30 set seeking?
The answer to such a question may come in the comparative success of Godspell and Superstar, for the two are radically different in their approach to their material. The Jesus of Superstar is a sad creature, worthy of pity, who is protected by Mary Magdalene and admonished by Judas Iscariot. Indeed, it is the latter who makes the last reasonable statement in the play, asking Jesus if he really understands what he is doing and leaving us all pondering with the chorus, "Do you thin you're what they say you are?" Superstar, then, stresses the normal day-to-day aspects of its Jesus and thus, not surprisingly, leaves him at his death--unressurected.
Not so with Godspell. Here the accent is on the positive. Jesus gently but firmly leads his disciple to an understanding of his message, a realization that is proclaimed joyfully in the closi9ng number, "Long Live God." Peggy Gordon succinctly contrasts the two productions. "Godspell," she maintains, "stresses the divinity of Christ, while Superstar concentrates on his humanity."
A final point in its favor is the contagious enthusiasm of Godspell's cast. No reviewer fails to mention their "charm," "zest," "spirit" or "effervescence." Stephan Nathan says, "When I saw it, I knew this was what I had been looking for." David Haskell, who skillfully executes to dual role of John the Baptist-Judas, contends, "I look forward to doing this on Christmas and Easter." Robin Lamont, who sings the show-stopping "Day by Day," states flatly: "The material grows on everybody in the company. We've come to know and love each other better because of it." If this is not indicative of the "Good News," then nothing is.
Joseph Barton, S.J., is chairman of the History Department at Brooklyn Preparatory School, New York City.